These are the best Olympus cine lenses, chosen for how they balance compact size, geared controls, consistent T-stops, minimal focus breathing, and clean, neutral color for Micro Four Thirds (OM SYSTEM/Olympus) bodies—perfect for gimbals, handheld doc work, and travel rigs that still look “cinema.” Cine on MFT is about three levers: lightweight sets you can fly on small stabilizers, gearing/throw you can pull by feel (or with a follow focus), and optical discipline that stays sharp and clean across the 2× crop. Start with the Meike Cine MFT T2.2 prime set (12/16/25/35/50/85mm): unified 77mm fronts, 0.8 MOD gears, long-ish throws, low breathing, and matched color that intercuts effortlessly—bread-and-butter coverage from ultra-wide establishing to flattering close-ups in compact, affordable barrels. For characterful wides and specialty perspectives, Laowa’s MFT cine line is a gift: 6mm T2.1 Zero-D (12mm FF-eq) for dramatic interiors without distortion, 7.5mm T2.1 Cine for gimbal real estate or travel, 9mm T2.9 Zero-D Cine for edge-to-edge crispness, and 12mm/10mm Zero-D Cine options where available; the Laowa 24mm T14 2× Macro Probe (MFT/F) unlocks “through the scene” product/food crawls with controlled reflections in tight sets. For run-and-gun speed and a unified look, SLR Magic’s MFT cine primes—12mm T1.6, 17mm T1.6, 25mm T0.95 Cine, 35mm T1.3, 50mm T1.1—bring fast T-stops, cine gears, and a gentle roll-off ideal for interviews and available-light work, with the classic 25mm T0.95 offering dreamy separation when you need it. If you prefer zooms with cine ergonomics, DZOFILM’s Linglung MFT zoom pair (10–24mm T2.9 and 20–70mm T2.9) provides a two-lens doc spine: internal focus, consistent T2.9, controlled breathing, 0.8 MOD gears, and parfocal-like behavior that keeps framing steady on shoulder rigs and monopods. For stylized looks, Sirui’s MFT anamorphics bring compact squeeze with uniform handling—1.33× (24/35/50/75/100mm) for a subtle widescreen feel on 16:9 and 1.6×/2.0× lines for bolder oval bokeh and vintage flare—great for brand films and travel reels without massive rigs. Round out macro and detail with the Laowa 65mm T2.9 2× (adapted where needed) or simply stick to the Laowa Probe for extreme close-ups; for hybrid kits, Olympus/OM System still primes (e.g., 12/1.4, 25/1.2, 45/1.2, 75/1.8) de-clicked in-body and paired with cage gears make reliable “cine-ish” companions with excellent IBIS synergy. What makes these “best” on MFT: matched mechanics (0.8 gears, close T values), low/pleasant breathing for elegant racks, coatings that hold contrast around practicals and backlight, sensible 67–77mm fronts for one matte box/ND stack, and light builds that play perfectly with OM-1/OM-5 IBIS for floaty handheld. Technique turns compact glass cinematic—follow the 180° shutter rule (e.g., 1/50 at 24p), slow AF speed/sensitivity or pull manual with peaking, standardize to a single VND and diffusion across the set, white-balance to scene or chart for consistent color between brands, and balance zooms at mid-extension before mounting to a gimbal; on anamorphic, mind your de-squeeze and frame for headroom. Practical kit recipes are simple: ultra-light prime spine—Meike T2.2 (12/25/35/50) with 85mm for interviews; wide + character—Laowa 7.5mm T2.1 + 9mm T2.9 Zero-D with SLR Magic 25mm T0.95 for low-light mood; zoom-led doc duo—DZOFILM 10–24 T2.9 + 20–70 T2.9 for all-day coverage; anamorphic travel—Sirui 1.33× 24/35/50/75 set with a single VND; hybrid budget—OM System 12/2 + 25/1.8 + 45/1.8 with cine gears and de-clicked body controls. Whether you’re filming handheld city stories, micro-budget narrative, glossy food/product reels, or stabilized travel pieces, the best Olympus-mount (MFT) cine lenses deliver compact, geared control, consistent color, and minimal breathing that make small rigs look big-screen polished straight out of camera.